This article reviews the reasons scholars hold that driverless cars and many other AI equipped machines must be able to make ethical decisions, and the difficulties this approach faces. It then shows that cars have no moral agency, and that the term ‘autonomous’, commonly applied to these machines, is misleading, and leads to invalid conclusions about the ways these machines can be kept ethical. The article’s most important claim is that a significant part of the challenge posed by AI-equipped machines (...) can be addressed by the kind of ethical choices made by human beings for millennia. Ergo, there is little need to teach machines ethics even if this could be done in the first place. Finally, the article points out that it is a grievous error to draw on extreme outlier scenarios—such as the Trolley narratives—as a basis for conceptualizing the ethical issues at hand. (shrink)

This paper examines the possibility of parenting as a queer practice. Examining definitions of “queer” as resistant to presumptions and practices of reprosexuality and repro-narrativity (Michael Warner), bourgeouis norms of domestic space and family time (Judith Halberstam), and policies of reproductive futurism (Lee Edelman), I argue that queer parenting is possible. Indeed, parenting that resists practices of normalization are, in part, realized by certain types of postmodern families. However, fully actualizing the possibility of parenting queerly—and thus teaching our children (...) the values of non-normativity--requires engaging political struggles for distributive justice. These are, thus, the struggles that should be at the center of queer politics, rather than the current struggles for gay marriage and homoparental rights. (shrink)

Beginning with the role of the Sex Pistols’s “God Save the Queen” in Lee Edelman and J. Jack Halberstam’s debates about queer death and failure, I follow a musical motive from the Pistols track to its reappearance in Atari Teenage Riot’s 1995 “Delete Yourself .” In this song, as in much of ATR’s work from the 1990s, overlapping queer and Afro-diasporic aesthetics condense around the idea of death or “bare life.” ATR’s musical strategies treat this death as a form (...) of de-intensification and divestment— not, as in Edelman or the Pistols, as a form of negation . I will show that ATR’s musical recontextualization of the Pistols’s riff mirrors the political recontextualization of queerness and queer death from negation to disinvestment. Pushing this misprision or sticky interface between cyberpunk, queer, and Afro-diasporic musical aesthetics, I use ATR’s music to consider how queer death might work as a political response to neoliberal demands to invest in “normal” life. I first discuss the traditional concept of death as negation in both the Sex Pistols song "God Save the Queen," and in Lee Edelman and Jack Halberstam’s formulations. I then argue that Atari Teenage Riot's song “Delete Yourself” describes a neoliberal, biopolitical concept of death, death as carefully administered divestment. Finally, I use Deleuze and Guattari’s discussion of drugs, and Ronald Bogue’s Deleuzian reading of death metal to identify and explain how “MIDIjunkies” and “Into the Death” complicate the biopolitical/neoliberal management of death by reworking traditional black/queer critical aesthet- ics. In these songs, ATR undermine biopolitical neoliberalism’s demand to invest in and intensify regular “normal” life: rather than treating death as a nadir of intensity, they intensify it–that is, they go into the death. This strategy of going “into the death” is one possible queer necropolitical response to neoliberalism. (shrink)

Critical comments on two roads to a good society. (These roads in response to John Rawls' A theory of justice, 1971): Dutch ethical theorist Trudy van Asperen (Het bedachte leven, 1993), and Avishai Margalit (A decent society, 1996).